Themes and Meanings (Masterplots II: Poetry, Revised Edition)
“A Beautiful Young Nymph Going to Bed” is commonly linked by critics to three other so-called “excremental poems” by Swift—“The Lady’s Dressing Room,” “Strephon and Chloe,” and “Cassinus and Peter”—all produced by the poet during 1730 and 1731. While there exist important thematic differences among these poems, they are certainly similar in their overt physicality and, more important, in their common assault on deception. Swift’s mad persona in A Tale of a Tub (1704) observes that happiness resides in “a perpetual Possession of being well Deceived,” but it is the role of satirists everywhere to compel their audience to look beyond those comfortable constructs by which humans customarily seek to delude themselves into a facile state of contentment. “A Beautiful Young Nymph Going to Bed,” accordingly, aims at stripping away such obfuscation by depicting the rank grossness of human flesh when it is divested of all ornament and is operating in its natural state.
Indeed, any temptation to sympathize with the downtrodden, much-victimized Corinna inevitably runs up against Swift’s conception of both God and humankind. For Swift, God is a largely unapproachable, unspeakably transcendent being who created the world and left behind certain commandments, laws that establish minimal requirements of human behavior. In Swift’s view, Corinna and her clients clearly fall short of those moral standards, to the point that...
(The entire section is 495 words.)
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